Compared Fashion From Late 1800s to 1920s
Women's mode changed so significantly in the 1920s because of the social and political changes that occured in this exuberant decade.
Social Life and the Arts
After the horrors of the First Earth State of war, when thousands of immature men died fighting in the trenches, there was a general relaxation of social rules. What followed was a decade of parties, typified by the new trip the light fantastic toe crazes, such equally the Charleston, and a growing interest in jazz music. The arts flourished with Modernism and, later on the Exhibition of Decorative Arts in Paris in 1925, the Fine art Deco movement. Literature included novels such asThe Groovy Gatsby past the American F. Scott Fitzgerald, works from the Bloomsbury group, including Virginia Woolf, plays by Noel Coward, or verse past T. Southward. Eliot, includingThe Waste Land (1922). In Hollywood the flick industry continued its steady growth, with influential starlets such as Louise Brooks, and in 1927 the introduction of the 'Talkies'.
Political and Economic Upheaval
Even so, the decade also saw much political, economic and social upheaval. Women's emancipation continued on from the Suffrage Motion of the previous decade. In 1919 women over the age of 30 were granted the right to vote. Notwithstanding, it was not until 1928 that women were granted equal voting rights equally men allowing them to vote at 21. There was growing industrialisation, and major investments were made on the stock exchanges. Meanwhile, poorer sections of British order were striking economically and discontent was expressed by the General Strike of 1926. Finally, the bubble of the Jazz Historic period of the 1920s finally outburst on 24 October 1929 when the New York Stock Substitution crashed. The Wall Street Crash led into a period of financial hard times known as the Great Low.
Fashion
In the firsthand mail-war menstruum the lost youth of Europe were replaced past androgynous looking women who emulated and aspired to the slim, straight figure of an immature boy. This aesthetic replaced the maternal, feminine, hour-drinking glass figure of the Edwardian age and earlier Gibson Girl. Constricting corsets were gradually replaced by lighter foundation garments, such equally brassieres, first invented in 1914, and girdles. Flesh coloured silk stockings came into fashion, manufactured with back seams, although cotton lisle stockings were popular for more everyday use and sports.
Many women cropped their hair into a brusk bob, trimmed at the back with shingling-clippers. The look was dubbedgarçonne, pregnant 'boyish' in French. Often the bob was styled using the 'Marcel Wave'; a method of waving the hair forth natural lines using a pair of tongs, first invented by Marcel Grateau in 1872. The new smart, short hairstyles suited a new fashion of chapeau introduced in 1923 known as a cloche. These hats had deep, close-plumbing equipment crowns and no skirt.
The wait for the 'vivid young things' was thoroughly modern, with clean lines and a feel of ease and comfort in the clothing they wore. Eligible ladies were presented at court Drawing Rooms, subsequently actualization in fashionable London society and were photographed wearing the latest designs from London and Parisian designers for the pages of Vogue and other, increasingly more numerous, varieties of women'southward magazines. Still, it was still possible to see older or less affluent women dressed in Edwardian clothing.
1929, CT004010
Designers, Dressmakers and Department Stores
Gabrielle Chanel, known every bit 'Coco' to her friends, opened her couture house in 1919 and was ane of the leading designers of the 1920s. She was famous for her piece of cake-to-wear knitted garments, including sweaters and twin-gear up ensembles. Her clothing combined luxury with simplicity and was oft teamed with stunning pieces of cosmetic jewellery. On 5 May 1921 she launched her beginning perfume, Chanel No.5. Other influential designers working during the 1920s included Poiret, Jeanne Lanvin, Vionnet, Schiaparelli, Edward Molyneux and Norman Hartnell, who opened his couture firm in 1923.
As the number of designers who produced couture lines increased, so did the number of department stores who offered ready-to-clothing trickle-downward copies of the most up-to-appointment designs for the masses. With women's emancipation, gradually more than and more young women were going out to work, and thereby increasing the amount of money they had to spend on the latest fashions. Meanwhile, there still continued to be a large percentage of clothing made at home or by local dressmakers. In response to this marketplace, a growing number of women's magazines offered patterns and advice on making women's and children's vesture for the home dressmaker.
Trends
Skirts
The get-go of the decade saw ankle length skirts and dresses, with a slightly dropped waistline. Lanvin, in particular, specialised in producing dresses with slightly flared or tiered skirts, with boosted width over the hips. However, as the decade progressed, the line became more tubular with the skirt becoming increasingly cut in a straight line with the bodice. Skirts were at their shortest c.1925-1926, coming to but beneath the knee. Towards the end of the decade the await became more feminine, hemlines became longer, first unevenly with handkerchief skirts or cut longer at the dorsum than the front end. Past 1929 ankle length skirts were dorsum in way.
Egyptmania
The 1922 discovery of Male monarch Tutankhamen's tomb in the Valley of the Tombs of the Kings in southern Egypt led to a period of Egyptmania, with Egyptian inspired motifs and hieroglyphics appearing on a variety of decorative art objects also as clothing
Cosmetics
Too in this decade the use of cosmetics became increasingly popular. Both Elizabeth Arden and Helena Rubenstein had begun experimenting with new facial creams and a new diversity of more skin friendly products began to emerge on the marketplace. The fashion was for doll-like faces with pale faces, plucked eye brows, rouged cheeks, and red lips with the pigment applied to the cardinal lip and Cupid's bow to produce a "bee-stung" silhouette.
This blog mail service was originally published on the Regal Pavilion and Museum's website.
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